Knocked Up Textual Analysis
Aurora O’Bryan
Prof. Kaufman
11/6/2007
Textual Analysis
Knocked Up Intended for the enjoyment of the present-day youth generation, the 2007 comedy film Knocked Up deals with more than just comedic issues. Technically introduced as a romantic comedy, this film serves more to its comedic orientation. With awkward romance and stoner mannerisms, the laughs are plentiful for the intentional audience of Knocked Up. However, as the audience is served its fill of laughter, issues are presented that rarely grace the silver screen. The director of this film, Judd Apatow, utilizes his dominion and influence over the audience to introduce the dominant ideology of Knocked Up. As seen in his previous film, The 40 Year Old Virgin, it is evident that the good guy can get the girl and in doing so may come along some unexpected complications. Apatow’s use of comedy in this media context to present such complications leads the audience to conclude that they too should adapt to his alternative approach to unplanned pregnancies in this present day. Set in present day 2007, Knocked Up centers around two adults in their mid 20s who could not be any more different. After a work promotion, the beautiful, career-minded Alison (played by Katherine Heigl) celebrates at the club where she meets reckless, unmotivated Ben (played by Seth Rogen) and the rest of his stoner friends. As one drink leads to another, Alison and Ben wake up to each other in bed the next morning. As a result, eight weeks later, Alison finds that she is pregnant with a slob who disgusted her when seen through sober eyes. Despite her unforgiving views of Ben, Alison affirms her decision to keep the child and to begin the journey that will bring these two unlikely partners together. Ben and Alison’s worlds are turned upside down as each deal with the responsibility of parenthood. Alison may have put her progressing career at stake and discreetly hides her pregnancy. All the while, Ben struggles to even pick up a career,
Prof. Kaufman
11/6/2007
Textual Analysis
Knocked Up Intended for the enjoyment of the present-day youth generation, the 2007 comedy film Knocked Up deals with more than just comedic issues. Technically introduced as a romantic comedy, this film serves more to its comedic orientation. With awkward romance and stoner mannerisms, the laughs are plentiful for the intentional audience of Knocked Up. However, as the audience is served its fill of laughter, issues are presented that rarely grace the silver screen. The director of this film, Judd Apatow, utilizes his dominion and influence over the audience to introduce the dominant ideology of Knocked Up. As seen in his previous film, The 40 Year Old Virgin, it is evident that the good guy can get the girl and in doing so may come along some unexpected complications. Apatow’s use of comedy in this media context to present such complications leads the audience to conclude that they too should adapt to his alternative approach to unplanned pregnancies in this present day. Set in present day 2007, Knocked Up centers around two adults in their mid 20s who could not be any more different. After a work promotion, the beautiful, career-minded Alison (played by Katherine Heigl) celebrates at the club where she meets reckless, unmotivated Ben (played by Seth Rogen) and the rest of his stoner friends. As one drink leads to another, Alison and Ben wake up to each other in bed the next morning. As a result, eight weeks later, Alison finds that she is pregnant with a slob who disgusted her when seen through sober eyes. Despite her unforgiving views of Ben, Alison affirms her decision to keep the child and to begin the journey that will bring these two unlikely partners together. Ben and Alison’s worlds are turned upside down as each deal with the responsibility of parenthood. Alison may have put her progressing career at stake and discreetly hides her pregnancy. All the while, Ben struggles to even pick up a career,
Cited: 1) White, Mimi. “Ideological Analysis and Television.” In Robert C. Allen (ed.), Channels of Discourse, Reassembled: Television and Contemporary Criticism (second edition). Chapel Hill: University of North Carolina Press, 1992: pp. 161-202.